Pop and Corona In the Background, the disaster suspended albums and Songwriting under quarantine: The music inside, Charlie XCX and Kehlani Ashley Parrish process the Corona pandemic, each in their own way. Joachim Hentschel0 KommentareDie singer Charli XCX in concert in Paris in 2016.
The topic is, for hopefully the last Time: Corona-Pop. It would have been required by a Virus is so or a bit much that it should be reflected in the pop culture of constructive low as, for example, a partial Eclipse of the moon or a rear-end collision on the A1. If we have spoken in recent weeks about Pop, about the images, Sounds and body gestures that he produces today fast furious than ever before – then it went anyway, usually Economic, but rarely Aesthetics. In photos from the empty Venice can be particularly enthusiastic contemporaries, perhaps even a perverse poetry. Pictures of the empty club or Festival-Dust were, however, simply say: The end is near. Even if somewhere a lone DJ that plays to the spirit of the game, dance, and Instagram a few more donations to collect.
Now, however, are two Popalben appeared, of relatively young singers and Song writers, the actual circumstances in a creative process to try; with an artistic obligation to you to respond, you are in a plant form, perpetuate, and beyond the currently dominant From day-to-day spirit and the privileged self-pity statements of inventory could have: “How I’m Feeling Now” by the English Cambridge-born Charlotte Aitchison, the Charli XCX calls, and “It was Good Until It Wasn’t” by the California native Kehlani Ashley Parrish. Two very different projects that share the same approach: they tell no stories of the crisis, but take them as a springboard for your own Twists.
In the case of Kehlani’s complicated history. The 25-year-old singer from Oakland, was seven years ago through a Casting-Show known, worked in the power of music-the jungle to the top, then found as a road of soul-Princess with wild zerstrubbelter personality connection to the group-driven show business. Your new, officially second Album was the beginning of March, but the tradition-heavy Label, Atlantic, pushed the publication into the Unknown. From the point of view of the PR supply chain, it didn’t make sense to blow the new music in the event space.
As you can via Zoom or Teams actually together Songs
play According to the official history of the Atlantic, the artist had the Option to publish the Album but in may, provided that they would take care of under the difficult circumstances, the self-values of Videos and accompanying Promotion. So Kehlani from the self-restraint twirled a Unique Selling Point, published at the end of March as a “quarantine-style” declared the Video for the Song “Toxic”: a flickering Endless Selfie, staged as the Session of a Striptease-Webcam. In connection with the bell-clear Song about the attraction of harmful beloved, you could decide for yourself whether the protagonist is dancing narcissistic for yourself or as a Long-Distance provocation for another (or others).
Kehlani on the occasion of a concert in Surrey, Canada, in the year 2018.
auswürfelt Overall, “It was Good Until It Wasn’t” a creamy, bedroom sleepy plate, authors-R’n’B, in which Kehlani scores the own relationship’s ability to contrite. Of course, the Corona theme later on, with now four quarantine Videos and the Narrative of the self-powerful publication. But it now forms the film, the narrative, against the light, the Drama of the Songs is only for effect. Significantly, it is through the record cover, in quarantine photographed: the singer from behind as she looks over the rose garden wall into the Unknown. On your Instagram Account, it also shows the counter-shot: Behind her in the garden, on the first picture invisible, raging a Roland Emmerich-like disaster. Much worse than your life chaos the pandemic of the future may not be so.
music video-compromises, there was still more, of pretentious Hip-Hop-house guided tours of painful flirtatious kitchen filmereien up to the already iconic, ill-counterfeit conference-split screens, leave the gullible viewer into the assumption that we could play via video communication software such as Zoom or Teams actually together Songs. “Forever” by Charli XCX, in mid-April uploaded, this is a wonderful counter-proposal. The artist, 27, is known as a extremely viable Hybrid of music worker, entertainer and fluid avatar beings, was sitting in the foreclosure in Los Angeles, had called on their channels, the Followers, new and old Smartphone-video files to be sent. The self-observations, holidays, animals and sports scenes have been mounted to the Popclip, which acts as the view in the memories of a mastermind: In the shadow of the viral threat to our life is passing us by. How is the view in Kehlanis garden, just beautiful.
The eleven tracks on the new Charli-XCX-Album “How I’m Feeling Now” officially emerged during the Lockdown time, a piece of Corona-occupational therapy, imposed upon the artist at the beginning of April in all of the Social Media Public. Since the production of electronic Pop is also under normal conditions a rather isolated business, this collection of Cyber-R’n’B, and robotic Bubblegum anthems not too much from earlier Charli publications. The crisis also acts here especially in the framework of the project, as a Motivation for certain extraordinary events. So Charli XCX is not limited itself to six weeks production time, they celebrated the Phase, as an interactive Happening, where Fans of the writing process were able to participate. This works well on Zoom. At least as seen in this Album will remain a historical Monument.
Perhaps because of lines like “I hear no sounds when I’m shouting, I just wanna go to parties” from the Song “Anthems”. The Club-Pop, the is otherwise from the Moment of the ecstasy or the drive from one Epiphany to the next, tells, exceptionally, that there is no Party. The presence of absence through language. Charli XCX and her Fans have written the first post-structural ideas-disco-Kracher.
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